Wader II (Pink)
Wader II (Pink) 2012 Direct to plate photogravure and aquatint Somerset white paper Image size 21" x 21" Paper size 31½" x 31½" Edition of 50 Purchase/Inquire Isca Greenfield-Sanders uses discarded slides as her source imagery. They are the evidence of stories, now forgotten, but given another life through her art. The narrative is not prescriptive but wide open. Sometimes she recasts the image as if some of the color had been washed away. Other times she intentionally repeats a flaw because there are treasures to be found in the castoff of the castoff. In the digital age, everyone is a photographer, and the mistakes are deleted before they can even be filed away. In her work, Greenfield-Sanders repurposes the quotidian into something deeply memorable. [read more="Click here to Read More" less="Read Less"] Paulson Bott Press: You determine [...]
Pikes Peak
Pikes Peak 2012 Direct to plate photogravure and aquatint Somerset white paper Image size 21" x 21" Paper size 31½" x 31½" Edition of 50 Purchase/Inquire Isca Greenfield-Sanders uses discarded slides as her source imagery. They are the evidence of stories, now forgotten, but given another life through her art. The narrative is not prescriptive but wide open. Sometimes she recasts the image as if some of the color had been washed away. Other times she intentionally repeats a flaw because there are treasures to be found in the castoff of the castoff. In the digital age, everyone is a photographer, and the mistakes are deleted before they can even be filed away. In her work, Greenfield-Sanders repurposes the quotidian into something deeply memorable. [read more="Click here to Read More" less="Read Less"] Paulson Bott Press: You determine some of [...]
Wildwood III
Wildwood (Detail III) 2014 Direct to plate photogravure and aquatint Somerset white paper and gampi Image size 14" x 14" Paper size 18 3/4" x 18" Edition of 35 Purchase/Inquire Isca Greenfield-Sanders looks for just the right discarded slide. One image taken in 1961 at the Jersey shore has provided her inspiration for several paintings and three new prints with Paulson Bott Press. As she focuses her attention closer and closer the image moves from a dreamy memory to an abstract dream. –Kenneth Caldwell [read more="Click here to Read More" less="Read Less"] Paulson Bott Press: Where did the images for these prints come from? IGS: All three etchings are based on one slide taken in 1961 at the beach in Wildwood, New Jersey. The original slide is bright and packed with figures – I fell for it immediately. I [...]
Wildwood II
Wildwood (Detail II) 2014 Direct to plate photogravure and aquatint Somerset white paper and gampi Image size 14" x 14" Paper size 18 3/4" x 18" Edition of 35 Purchase/Inquire Isca Greenfield-Sanders looks for just the right discarded slide. One image taken in 1961 at the Jersey shore has provided her inspiration for several paintings and three new prints with Paulson Bott Press. As she focuses her attention closer and closer the image moves from a dreamy memory to an abstract dream. –Kenneth Caldwell [read more="Click here to Read More" less="Read Less"] Paulson Bott Press: Where did the images for these prints come from? IGS: All three etchings are based on one slide taken in 1961 at the beach in Wildwood, New Jersey. The original slide is bright and packed with figures – I fell for it [...]
Wildwood I
Wildwood (Detail I) 2014 Direct to plate photogravure and aquatint Somerset white paper and gampi Image size 14" x 14" Paper size 18 3/4" x 18" Edition of 35 Purchase/Inquire Isca Greenfield-Sanders looks for just the right discarded slide. One image taken in 1961 at the Jersey shore has provided her inspiration for several paintings and three new prints with Paulson Bott Press. As she focuses her attention closer and closer the image moves from a dreamy memory to an abstract dream. –Kenneth Caldwell [read more="Click here to Read More" less="Read Less"] Paulson Bott Press: Where did the images for these prints come from? IGS: All three etchings are based on one slide taken in 1961 at the beach in Wildwood, New Jersey. The original slide is bright and packed with figures – I fell for it immediately. [...]
NY Arts Magazine
NY ARTS MAGAZINE Isca Greenfield-Sanders by JOYCE KOROTKIN Referring more to its content than it does to formalist discourse on the boundaries between painting and photography, Isca Greenfield-Sanders’ recent solo at Lombard-Freid Fine Art is a tour de force in which art and ideology are seamlessly entwined. Her methods – digitally altered, found photographs printed on canvas then worked into with paint – address post-modernist dialogue by blurring the boundaries between processes, causing a certain tension in the work; but her expressive effects within these constructs is what takes precedence. In this arena, Greenfield-Sanders is simply transcendent. Subject matter is taken from generic old photographs, the kind that might comprise a sort of universal family album. These faded images are layered over with sharply delineated color contrasts; jewel tones of turquoise or emerald and the corals and reds that become radiant at dusk. These shimmering colors are translucent, almost hallucinatory, [...]
ARTnews
ARTNEWS Reviews, Isca Greenfield-Sanders International GALERIE KLÜSER 2 Munich Isca Greenfield-Sanders’s work is intriguingly deceptive. What seem like snapshots, blown up and painted over, hide a process that addresses issues of family and memory. Looking at these compelling new works, the viewer becomes immersed in someone else’s reminiscence. A family is seen in a glowing halo of nostalgia: a chubby girl in a baby swing, a family get-together, father and son on the lawn. But the black-and-white memories have been gussied up with garish hues that contrast with the 1950s aura. The large-format works were constructed from smaller squares pasted to canvas and assembled like mosaics. The process is laborious: photos are scanned, and, using a computer, the artist isolates particular elements from them to construct her own “remembrance.” This falsified memory is printed on rice paper and colored with pencil and watercolor. Those images are then scanned and printed [...]
ARTnews
ARTNEWS Review, Isca Greenfield-Sanders John Berggruen December 2005 This series of ten large-scale “Beach Detail Paintings” (2005) by New York artist Isca Greenfield-Sanders offered a breath of fresh air. The artist based these works on snapshots of family vacations from the 1950s and ‘60s, taken from slides that she purchased at a yard sale. She scanned the slides, pared them down to a few select details, enlarged the images, and then printed each section on a sheet of rice paper. She then assembled the pages and used oils and watercolor to give the images her own vibrant color, rich texture, and crisp translucence. The artist painted several of the same images in both pink and blue color schemes. Yellow Butt Beach is a study of light at low tide. In the pink version, coral hues are reflected in calm surf as a figure in yellow swim trunks crouches beneath a [...]